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  • Review: B. Wurtz, BALTIC Centre for Contemporary Art, Gateshead | Corridor8 —
    outlines as three basic necessities for happiness food shelter and clothing and yet in doing so leave the viewer asking questions about the power and inventiveness of human creativity The large gallery is peopled with steamrollered trapeze artists plastic carrier bags pegged and stitched on dowels small rampant figures holding flags curtain pole brackets with printed hankies wired to them and ruined cities toy buildings sets and scraps of wood Just what does that pile of pierced plastic boxes that contains chunks of printed wood remind me of Animal cages at the circus The old within the new My Dad s bait box Despite the small size and humble materials of many of the works the confident intention behind them ensures they hold their own in the space giving nudges to sculptural history and formal conventions Prototype for Sock Multiple 1993 manages to be both Brancusi s The Bird and Bartholdi s Statue of Liberty In an exhibition that holds so many gems of irony the positive humorous type that helps most people negotiate their world it is difficult to highlight works for particular praise but the far gallery space is a joy With walls painted pale grey blue a large collection of aluminium roasting tins and take away cartons hang Their bases face the viewer rendering them strange and the artist has painted these and picked out their written instructions now backwards in colour They are sculpture paintings thing objects amazing in their similarity and variety It is difficult to look away from them but worth it as the films showing opposite are another jewel In them Wurtz can be seen surrounded by objects people and pets their hierarchies playfully disturbed Even the titles from Wurtz s career spanning over forty years show his engagement with ordinariness and contemporary

    Original URL path: http://www.corridor8.co.uk/online/review-b-wurtz-baltic-centre-for-contemporary-art-gateshead/ (2016-02-15)
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  • Review: Liverpool Provocations: A series of artistic interruptions, Liverpool | Corridor8 —
    think to change In contrast to the broad outspoken prod of Four Words Julieann O Malley s intimate series of one on one performances Veracity 2016 took its audience into an immersive environment inspired by Nineteen Eighty Four Again participants were challenged to question their perceptions of self and the effect social economical pressures have upon it Bridging the gap between the close and the grand MeYouandUs mobile installation Big Mouth 2016 made its presence known on Church Street and Clayton Square The artist duo invited people to vent their frustrations into a camera disguised as a megaphone In turn their mouths were projected onto a large radiant globe and fixed upon the head of a six breasted daemon designed by Liverpool street artist Tomo that danced for their viewing pleasure or perhaps disgust within a box viewed through a lens With good humour and technical complexity Big Mouth exorcizing seasonal ills whilst commenting upon social media induced self censorship Liverpool Provocations closed in the Black E on the 23rd with a performance directed by Forest Swords in collaboration with choreographer Carmel Koster and dancer Owen Ridley Demonick Championing the body as means of liberation empowerment and resistance Shrine 2016 drew its audience into a heady meditation In a large darkened hall a neon circle enclosed a contracted body A white spotlight fell and a drone began to mount a drone built from layers of breath that created a constant vibration against a push and a pull akin to ventilators the almost melodic imitation of a hospital ward that would be silent if not for its machines and the whirling inside its patients ears Blue beams formed an x in the circle and the arrangement became percussive Steadily it reached the sort of seductive hypnotic pace that Forest Swords is

    Original URL path: http://www.corridor8.co.uk/online/review-liverpool-provocations-a-series-of-artistic-interruptions-liverpool/ (2016-02-15)
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  • Article: A visit to Modern History Vol.III, Bury Art Museum, Bury | Corridor8 —
    shrunken with common familiarity turning below the orbiting eyes above our Googled Earth CAPSULES OF TIME ACCUMULATED Nearby the New Worlds display has the Moorcock edited issues racked sequentially as if they were capsules of time accumulated Like pornography for the literary the viewer feels as if they are browsing the most alluring newsagents shelves imagined Recapturing behind glass art which bypassed the strictures of gallery exhibition and located itself in the public space of the magazine vendor and those who didn t ban it for its risqué bugged out content There is a personal joy felt at owning a particular issue of this affordable art I am again struck by how far ahead the distant past can appear Browsing the magazine covers it is apparent that the journal s core audience has been alienated the conventions of genre and its silver rocket ships almost completely disregarded with wilful uncommerciality the only notable exception being the cover of New Worlds 215 which features a C 3PO robot head even New Worlds was unable to resist riding on the comet tails of that marketing machine to a galaxy far far away PROJECTED INTO THE DARKNESS In an adjoining room is a short documentary film by Clara Casian that comprises of an interview with New Worlds contributor Michael Butterworth which is projected into the darkness The work beautifully shot and edited has more filmic assurance than her film for Corridor 2 which became a documentary by circumstance and is comprised of a self contained section of a proposed expanded documentary on England s modern history of innovative publishing Butterworth is charming and articulate in what is his first screen interview There are great human moments captured by the glass eye such as his embarrassed pleasure reading aloud from a very complimentary letter

    Original URL path: http://www.corridor8.co.uk/online/article-a-visit-to-modern-history-vol-iii-burt-art-museum-bury/ (2016-02-15)
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  • Review: The Late Great Planet Earth, Bury Sculpture Centre, Bury | Corridor8 —
    a Tree look closely at our impact on the planet and its legacy Turquoise Bag in a Tree is the first piece you encounter on entering the exhibition and is positioned centrally The bag hanging precariously from the branch of a tree ties the idea of prophecies and environment together as it acts as a kind of symbol a Sword of Damocles in which our careless approach to the environment like the doomsday prophecies is hanging over us From this the other pieces span out to narrate different aspects of this idea The Prophet directly references the ideas of Hal Lindsey and the Blood Moon Prophecies The installation takes the guise of an abandoned log cabin and its location in the corner of the gallery adds to this as like with a desolate cabin you discover this after entering the exhibition giving the impression of an outdoor space within the indoor space It further develops the end of world prophecies and their appeal acting as both a temple to these ideologies as well as a refuge from the apocalypse Its contemplative space helps to solidify the various ideas the exhibition explores in subtle details such as the red orb handing from the ceiling referencing the blood moon and its cycle and the roman numbers etched onto the logs signalling time in addition to the ambient sound emitted from the cabin that invokes the sound of the universe Summit explores our impact on nature and is a celebration of a simpler pre digital way of life Jack creates a miniature landscape using cast rocks to draw our attention to the value of the earth beneath and how this is often overlooked The piece serves as a celebration of the world and again like The Prophet uses light to reference the moon

    Original URL path: http://www.corridor8.co.uk/online/review-the-late-great-planet-earth-bury-sculpture-centre-bury/ (2016-02-15)
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  • Review: Follow, FACT (Foundation for Art and Creative Technology), Liverpool | Corridor8 —
    learned that this was developed by Simon Whybray to further explore the themes of branding and advertising which are prevalent in the exhibition the personal identity of the model is blurred with the brand for Follow The first port of call in gallery one is the call centre set up of LaBeouf Rönkkö Turner s TOUCHMYSOUL For the first few days of the exhibition the three worked in the gallery space taking calls from the general public These conversations are now documented as on screen colour coded transcriptions of the dialogue Fragments include I ve tried calling thousands of times and nooo it s not you can I talk to Shia The expanded text makes for a humorous read The celebrity strand is continued with Debora Delmar Corp s Branded for Life showing luminaries such as Cara Delevingne and Jourdan Dunn getting tattooed branded with a DD logo In the same room Cecile B Evans Commercials It s Not Possible it s Real subverts the words and forms of advertising in a way that is at once funny and disturbing On one screen jars of mayonnaise fly over mountainous backdrops On another just a hyperlink from the reality checks of Surrealism computer generated ice cream dollops montage with the text IT S NOT POSSIBLE IT S NOW Upstairs gallery two has been transformed into the equivalent of a YouTube creator space a resource set up by the company to help their premium vloggers get tutored in video production In a move that puts the YouTube users to shame FACT offers this resource to gallery visitors with a green screen and editing suite set up in the space If you don t fancy a quick digital makeover yourself you can watch videos created by other more willing participants My own personal

    Original URL path: http://www.corridor8.co.uk/online/review-follow-fact-foundation-for-art-and-creative-technology-liverpool/ (2016-02-15)
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  • Review: VARC in the CITY, Abject Gallery, Newcastle | Corridor8 —
    side of VARC s programme an exuberant wall sized ink drawing of woodland forms produced with Jenny Purrit by the Sangini women s community of Sunderland and South Shields The community ingredient therefore seems somewhat under represented and surprisingly almost none of the images on show features any human presence The constraints of a white cube setting or perhaps the impulses involved in making this a pre Christmas selling show may have prevented it from bringing out the best of what gets produced at VARC where the physical volumes of the place are so often an integral part of the work Apart from the Sangini wall hanging everything is on a modest scale and only Rann and Adibi s exhibits not their best work incidentally really bring the materiality of Tarset s environment into the gallery The show s concept might have been more fully realised if it had offered more of the grit and mud and dynamic bigness of growth and decay that make the place what it is Beyond a nicely laid out collection of examples of the artists work there does not appear to be any particular narrative arc or curatorial shape to this exhibition which leaves it with a somewhat hollow feeling and probably represents a missed opportunity Nonetheless there is plenty to stimulate the eye and the imagination here from Maufe s artist books to Barton s textile design LEO s etchings Bellis and Pollard s use of photography in interesting ways and the distinctively individual aesthetic language of Pailing s repurposed objects From long residencies like those at VARC we might hope to see evolution not just perfection of an artist s practice and there are signs of this in Adibi s learning the particularities of the local stone and Pailing s experimentation with

    Original URL path: http://www.corridor8.co.uk/online/review-varc-in-the-city-abject-gallery-newcastle/ (2016-02-15)
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  • Review: Works To Know By Heart: Matisse In Focus & The Imagined Museum, Tate Liverpool, Liverpool. | Corridor8 —
    Matisse s studio until his passing in 1954 and were cast in bronze posthumously 1955 56 It is fair to say that the backs being bronze have something projected onto them possibly a twisted notion of value or worth that their plaster predecessors did not and therefore lack in elements of purity and reality Moving on from Matisse The Imagined Museum works from the Centre Pompidou Tate and MMK collections occupies Tate Liverpool s fourth floor gallery Citing Fahrenheit 451 Ray Bradbury s 1953 dystopian novel as an inspiration for this exhibition overlays a degree of fear What if by 2052 there was no longer a way to see art in the flesh What if we only had memories and digital representations The exhibition shows us works which we may wish to remember whilst also offering us playful nods to the notion of memory documentation and the destruction of what we love Many we know well already such as Andy Warhol s Brillo Soap Pads Box 1964 ingrained on our brains as an indelible image Other works like Dan Graham s Present Continuous Past 1974 appear to allude to our infatuation with recording our daily lives through selfies and other instant gratuitous self loving loathing imaging It is a worryingly topical idea With many culturally important buildings and artefacts such as the Arch of Triumph in the Syrian city of Palmyra being destroyed by bombings in the Middle East perhaps this exhibition is preparing us for an actual future where war and destruction overcomes creation The idea that our most revered artworks would live on only within our memories as a living museum is interesting There are however several questions which this raises What happens to artworks which have only ever existed as thoughts ideas or memories Is their status

    Original URL path: http://www.corridor8.co.uk/online/review-works-to-know-by-heart-matisse-in-focus-the-imagined-museum-tate-liverpool-liverpool/ (2016-02-15)
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  • Review: Going Public: International Art Collectors in Sheffield, Millennium Gallery, Graves Gallery, Site Gallery, SIA Gallery, Sheffield Cathedral, Sheffield | Corridor8 —
    1960s 70s Minimalism and Conceptualism from the Cattelain collection brush shoulders with contemporary works Dan Flavin and Sol Lewitt find themselves juxtaposed against Do Ho Suh s Wielandstr 18 12159 Berlin 2011 and Anthony McCall s Meeting You Halfway II 2009 Marking a departure from the earlier works focus on industrial materials and forms the contemporary pieces display a shift towards the encounter with sculptural and architectural space one requiring the viewer s presence for completion The gallery visitor is invited to traverse the ghostly spaces of Do Ho Suh s life size replica of a Berlin apartment and enter the screens of haze in McCall s installation to be encased in light as a constructive medium A focus on material is also present in the Marzona collection s display of Dada and Surrealism at Graves Gallery Responding to the Graves location above the Sheffield Central Library the display not only encompasses artworks but correspondence books periodicals and exhibition ephemera Blurring the boundary between artwork and object Marcel Duchamp s La Boite en valise Serie B 1935 41 1952 a portable museum containing ready mades and miniature reproductions of Duchamp artworks and Kurt Schwitters 1928 Vollmich collage of sweet wrappers and media fragments question traditional definitions of the art object At Site Gallery and SIA Gallery works of contemporary Chinese art from the Dominique and Sylvain Levy collection harbour a social and political resonance The two video pieces at Site Gallery Jiang Zhi s projection Onward Onward Onward 2006 of three former Chinese presidents Mao Zedong Deng Xiaoping and Jiang Zemin running continuously forward and Zhou Tao s 1 2 3 4 2005 footage of the military like morning drills of different Chinese companies offer a critical commentary on the capitalist system and its devotion to progress and development Although at SIA works such as Xu Tan s installation Keyword Survive 2005 a nomadic hut like shelter and Duan Jianyu s 2006 Morning a series of rural paintings accompanied by model chickens appear to offer a more hopeful alternative to this system their apparent utopianism comes under threat from the suggestion of the natural disasters that have likely influenced this mode of living Social and political events also resonate within the works of the Sandretto Re Rebaudengo collection at Sheffield Cathedral Entering into dialogue with the existing religious art of the cathedral the relationship between the biblical the historical and the contemporary is emphasised Jake and Dinos Chapman s Cyber Iconic Man 1996 an upside down mutilated mannequin that spurts blood from its many wounds simultaneously references crucifixion iconography whilst offering a powerful contemporary anti war stance Fiona Tan s 2001 video installation Saint Sebastian similarly enters into important debates regarding the role of women in society documenting the traditional Toshiya s ceremony of archery that marks the passage of young women into adulthood The Cathedral s engagement with questions regarding the role of contemporary art within religious spaces is endemic of Going Public s strength in inviting debate on

    Original URL path: http://www.corridor8.co.uk/online/review-going-public-international-art-collectors-in-sheffield-millennium-gallery-graves-gallery-site-gallery-sia-gallery-sheffield-cathedral-sheffield/ (2016-02-15)
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web-archive-uk.com, 2016-10-25